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Nov 16, 2012 - Nov 18, 2012

Der Kaiser von Atlantis

Opera by Viktor Ullmann. Opera Moderne, in collaboration with the Austrian Cultural Forum and the Czech Center, presents a new production of Der Kaiser von Atlantis.

Der Kaiser von Atlantis
Music by Viktor Ullmann
Libretto by Peter Kien

Friday November 16th at 8pm
Saturday, November 17th at 8pm
Sunday November 18th at 4pm

Tickets: $45 general admission; $65 premium reserved seating
Available for purchase at

DISCOUNTS for Czech Center patrons - get $10 discount by purchasing the ticket at this link:
Czech Center prices are $55 for Premium Seating and $35 for General Seating (a $10 SAVINGS!)
The Czech Center patrons may also call Diane Martindale at Patron Services at: 212-759-7652 to order tickets. 
Mention the Czech Center to get the $10 off of the normal ticket price.
***Please note that tickets must be picked up at the box office the day of performance***

​CONDUCTOR:  Ransom Wilson
STAGE DIRECTOR:  Markus Kupferblum

Kaiser Overall (Emperor Overall) - Vince Vincent
Der Lautsprecher (Loudspeaker) - Kelvin Chan
Ein Soldat (A soldier) - James Baumgardner
Harlekin (Pierrot) - Brian Downen
Bubikopf (A maiden) - Gan-ya Ben-gur Akselrod
Der Tod (Death) - Jeffrey Tucker
Der Trommler (Drummer girl) - Elspeth Davis

SET / LARGE PROP DESIGNER:  Timothy Bradshaw

Kaiser (cover):  TBA
Der Lautsprecher (cover):  Scott Lindroth
Ein Soldat (cover):  J. Andy McCullough
Harlekin (cover):  Michael Angelo
Bubikopf (cover):  Melissa Wimbish
Der Tod (cover):  Ivan Conrad
Der Trommler (cover):  Rachel Arky

Der Kaiser von Atlantis, oder Die Tod-Verweigerung (The Emperor of Atlantis, or Death's Refusal) is a one-act opera by Viktor Ullmann with a libretto by Peter Kien. Both Ullmann and Kien were inmates at the Nazi concentration camp of Theresienstadt (Terezín), where they collaborated on the opera, around 1943.

​While the opera received a rehearsal at Theresienstadt in March 1944, it was never performed there, as the Nazi authorities saw in the depiction of Kaiser Overall a satire on Adolf Hitler and banned the opera. Both the composer and the librettist died in the Auschwitz concentration camp.

​Ullmann entrusted his manuscripts to a fellow-prisoner, Dr. Emil Utiz, former Professor of Philosophy at the German University in Prague, who served as the camp's librarian. Utiz survived the camp and passed the manuscripts on to another survivor, Dr. Hans G. Adler, a friend of Ullmann's, some of whose poems Ullmann had set to music. The score was a working version with edits, substitutions, and alternatives made in the course of rehearsals. Through informal personal connections, the score came to the attention of conductor Kerry Woodward. In the process of preparing a performing edition of the score, Woodward consulted Rosemary Brown. Brown was a prominent spiritualist, known for mediumship with dead composers and for transcribing musical works they dictated. She said she contacted Ullmann and communicated his instructions to Woodward, who incorporated them into his edition. At Brown's direction, Woodward altered the instrumentation of the second part of Death's aria near the end of the opera, substituting strings for harpsichord and adding trumpet and flute.


A voice heard over a loudspeaker sets the scene and presents the characters.
Scene 1 Harlequin describes his sorry life without laughter or love. Death joins him and together they lament how slowly time passes in their grim environment. Death belittles Harlequin's wish to die and explains how much more dire his own situation is than that of Harlequin. He lacks respect now that the "old-fashioned craft of dying" has been replaced by "motorized chariots of war" that work him to exhaustion with little satisfaction.
The Drummer announces the latest decree of the Emperor: Everyone will be armed and everyone will fight until there are no survivors. Death denounces the Emperor for usurping his role: "To take men's souls is my job, not his!" He declares that he is on strike and breaks his saber.

Scene 2
In his palace, the Emperor gives battle orders and monitors the progress of the universal war. He learns of a man who continues to live eighty minutes after being hanged and shot. The Loudspeaker reports that thousands of soldiers are "wrestling with life...doing their best to die" without success. Fearful that his power will not endure without death, the Emperor announces that he has decided to reward his subjects with the gift of eternal life. More honestly, he asks: "Death, where is thy sting? Where is thy victory, Hell?"

Scene 3
A Soldier and a Maiden (the Bobbed-Hair Girl) confront one another as enemies. Unable to kill each other, their thoughts turn to love. They dream of distant places where kind words exist alongside "meadows filled with color and fragrance." The Drummer attempts to lure them back to battle with the sensual attraction of the call. The Maiden responds: "Now death is dead and so we need to fight no more!" She and the Soldier sing: "Only love can unite us, unite us all together."

Scene 4
The Emperor continues to oversee his failing realm, where his subjects angrily protest their suspension in limbo between life and death. Harlequin appeals to him, reminding him of his innocent childhood. The Drummer urges the Emperor to maintain his resolve, but the Emperor's memories turn his thoughts from his plans for the annihilation of all. Instead he gazes into a covered mirror and asks: "What do men look like? Am I still a man or just the adding machine of God?"
He pulls away the mirror's cloth and faces the reflection of Death. "Who are you?" he demands. Death describes his role modestly, like that of a gardener "who roots up wilting weeds, life's worn-out fellows." He regrets the pain his strike is causing. When the Emperor asks him to resume his duties, Death proposes a resolution to the crisis: "I'm prepared to make peace, if you are prepared to make a sacrifice: will you be the first one to try out the new death?" After some resistance, the Emperor agrees and the suffering people find release in death once more. The Emperor sings his farewell. In a closing chorus, Death is praised and asked to "teach us to keep your holiest law: Thou shalt not use the name of Death in vain now and forever!"



Opera Moderne has recently been praised by the New York Times as "a major new addition to New York's operatic ecosphere." David Browning of the Huffington Post wrote of Opera Moderne's Turn of the Screw, "I can not sing the praises of the cast highly enough." Based in New York City, the company creates groundbreaking multimedia productions through collaborations with artists of all disciplines. 



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From: Nov 16, 2012
To: Nov 18, 2012


Czech Center is a coorganizer of the event

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